The Memphis appeal. [volume] (Memphis, Tenn.) 1886-1890, 1887-05-01
A NEW SYMPHONY BY SAINT.
SAENS.

LIE Guide Musicale: "a la mem
DIRE de Franz Liszt." These words,
written on the title page of M.
Saint. Saens's new work, are not
there by chance or caprice, but, like
q brilliant fame, they shed their liv-
ing light upon every detail OF the
monument. Verify, the soul of the
dead master lives again in this mauso-
leum, constructed on a new plan, and
under noble, learned and indubit-
able warrant. The adagio joined on
to the opening movement, the scher-
20 serving as the finale of the con-
tracted peristyle, are altogether new ;
and it is a distinct relief to be at last
delivered from the fastidiOus classic
rules which mar our pleasure even
in Beethoven. But this innovation,
alreadyA introduced in his fourth
concerto by the French master, is
chiefly external. There is some
thing further, which goes to the
foundation of things-the per-
sistence of one theme through
all the fluctuations Ct the
work, a theme which is always
recognizable under the varied meta
morphoses which it undergoes by
means of harmonic articles and the
play of rhythm and tinbre. From
beginning to end it appears, unfOre-
seen like phantom, now pale and
melancholy, now with sardonic
smile, and again as luminous figure,
all radiant with serene Immortality.
What is the mysterious nature OF
this figure? Only NJ. Saint -Saens,
who has allotted to it the Chief role
in his symphony, can enlighten us on
this point. Music, when thus en-
ployed, fulflls its destiny as the con-
turing art, the suggestive art, which
evokes ideas and tempts us to specu-
late but this is not our present pur-
pose, and would lead us wide Of the
mark. We believe this is the first
time a work by living Frenchmar
has been received at the Conserva.
toire as was NJ. Saint-Saens's Third
Symphony on Sunday the 9th Of Jan
uary. II we consider that there
was no singing, and reflect OF
the severe character and great
lengthrot work, the long continued
applause and braves" of the au
dieuce must be regarded as 9
veritable triumph. The execution
of the work was magnificent; the or.
chestra and its conductor, M. Gar
Gin, identified themselves intimately
with their task, their vigor, precision
and beautiful quality Of tone being
remarkable. The effect Of the piano
and especially of the organ, was ex
cellent. The former was for fouI
hands. and was played by MN. Vida
and Pierne, two ex-holders Of tn,
Prir de Rome, and a marvellous eff
feet was produced at the beginning
of the final movement, where tn,
original theme in G minor, now al
tered to G major, appears in an am
pli6ed state for four string parts
which impart to it a mystical chora
character. The organ, played by NJ
Guilmant, pealed forth with all it
power at the re-entry of this sam
transfgured theme. 1t predomin
ates also in the ddagio, where tn
deep and calm sixteen feet ton
bears up the principal phrase SUM-
!. by the violins. NJ. Saint-Saens EN-
ploys all the resources of the moderl
orchestra, j. g., each family of in
struments is complete, consisting o
its three or four members, as tn
case may be. There were some com
plants made that, under these con
ditions, the quantity of tone wa
, somewhat too much for the SINAI
hall in the Rue Bergere, but tn
, composer manages his instrument
, with such consummate skill, an
/, knows so well how to use effect
| without abusing them, that We di,
not find the boly of tone too great